Maitland, British novelist (Three instances desk, Daughter of Jerusalem, Ancestral Truths, etc.) and Christian feminist (A Map of the hot Country), has right here produced a fantastically written ebook that's half paean to God and half explication of religion. regardless of its subtitle, it's also a considering person's seek, not only a feminist's. offering within the glaring acts of divine construction buttresses for the novel act of human religion, Maitland's is a God who struggles to make Herself recognized to and enjoyed by means of production. "Joy is the sport, the taking part in, among God and God's creation," Maitland writes; and the results of her chronicling of that online game is, because the subtitle extra appropriately stories, a pleased theology that, just like the God it celebrates, appears to be like on construction and reveals it excellent. advised for all who search to complement their religious trips or just to extend their theological sensibilities.

This can be a fresh illustrated consultant to the heritage, rules and perform of feminism. The time period 'feminism' got here into English utilization round the Eighteen Nineties, yet women's wide awake fight to withstand discrimination and sexist oppression is going a lot extra again. This thoroughly new and up-to-date variation of "Introducing Feminism" surveys the main advancements that experience affected women's lives from the seventeenth century to the current day.

This e-book is a serious advisor to the scholarly exploration of feminist theology. It describes the most good points of this contemporary theological improvement and examines its significant matters and questions. It provides accomplished and demanding analyses of the fundamental concerns of Christian doctrine written by way of members an expert in feminist theology.

Encouraged by way of a lecture in Barcelona given through a number one member of RAWA (Revolutionary organization of the ladies of Afghanistan), the unconventional feminist women's crew who paintings less than conceal because the basically genuine competition to the Taliban, Ana Tortajada, an skilled Spanish journalist, made up our minds to make a visit to Afghanistan in the summertime of 2000.

Writing in keeping with struggle and nationwide situation, al-Samm? n, Khal? feh, Barak? t, and others brought into the Arabic literary canon aesthetic varieties able to wearing Levantine women's stories. via assessing their feminism in one of these approach, this ebook goals to restore a serious emphasis on aesthetics in Arab women's writing.

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Brain Images Say Yes’, Erika Kinetz of The New York Times argues that ‘despite its period of invisibility, hysteria never vanished—or at least that is what many doctors say’ (26 Sept. 2006, D1). Elaine Showalter goes even further in Hystories (1997) and maintains that ‘Hysteria not only survives in the 1990s, it is more contagious than in the past’ (1997, 5). What is clear throughout these accounts of hysteria is that its explanatory power lies in its ability to characterise contemporary issues.

Theorising Desire 35 Winterbottom’s film resonates with many of the contemporary readings of desire—intimacy as an increasingly public phenomenon, the regulation or even colonialisation of desire, and the primacy of emotion as a social tool, something that is accepted as a valuable skill, and not gendered as feminine and therefore culturally dismissed. The presentation of desire in Code 46 emphasises intimacy through slow camera movements, through the attention to Maria and William (very few other characters are introduced), through music and slow camera panning, and through the use of landscape (desert versus the cityscape).

Kennedy and Laura U. Marks, towards a reconsideration of Deleuze’s work and its productive potential to refigure concepts such as desire. As Grosz explains: As production, desire does not provide blueprints, models, ideals, or goals. Rather, it experiments, it makes: it is fundamentally aleatory, inventive. Such a theory cannot but be of interest for feminist theory insofar as women are the traditional repositories of the lack constitutive of desire and insofar as the oppositions between presence and absence, between reality and fantasy, have conventionally constrained women to occupy the place of men’s other.